"[5] However, Manson's guitarist, Twiggy Ramirez, described the track as a rip-off of the Iggy Pop song "Nightclubbing" (1977) that takes influence from the music of T. Rex and Oasis.

[6] Three weeks prior to their official release, "The Dope Show" and the title track of Hole's Celebrity Skin were played on stations in New York City and Los Angeles.

[8] In scenes reminiscent of The Man Who Fell to Earth, Manson appears — red-haired, with his entire body, including prosthetic rubber breasts, covered in white latex paint — as an androgynous extraterrestrial wandering around the Hollywood Hills.

The video's imagery employs several direct homages to The Holy Mountain, most specifically a sequence involving the destruction of plaster casts of the main character's body in a crucifixion pose.

In addition, sculptural pieces by German artist Rebecca Horn are re-created such as "Overflowing Blood Machine" in which Manson is bound by long, red, blood-flowing tubes.

These scenes are interspersed with cuts of underground transgender performer Goddess Bunny (aka Sandie Crisp) dancing in a yellow, sequined dress, similar to that worn by Twiggy Ramirez in the same video.

[citation needed] The Goddess Bunny's custom couture sequin gown (worn for the video and the live MTV awards performance), was designed and hand sewn by Kris Hendrickson Testanier of San Francisco.

Its sing-along chorus lends the social study a levity the Reznor period denied, and the bite-sized lyrics—bon mots like "Cops and queers make good-looking models"—help the medicine go down.

Despite the guitars pumping the hook in the proven grunge tradition, this bouncy sugar pill is radical for Manson not only because it's pop, but also because it's something few '90s rockers have attempted: it's sexy."

By now embodying it, Satan's ambitious little helper has relocated Manson theory out of its logical head and into a freshly liberated and femme-y cyborg that sets it in motion.

They described the lyrics as simultaneously "pedantic" and "mildly alarming" but complimented "Manson’s campfire-ghost-story vocals and industrial rhythms" as the perfect complement to "druggy reveries and stomping choruses straight out of T. Rex’s Electric Warrior.